A Quote by Karl Urban
It was always something I knew I was capable of and from an early age my mother was involved in the film industry. She used to work at a production company. So I was exposed to a renaissance period of films in New Zealand back in the early 80's.
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Well, I certainly was exposed to and learned to appreciate the work of great directors early on. As a kid, my mother used to take me to see really interesting arty films in Los Angeles.
My filmmaking style of remixing came out of necessity. When I was a film theory student at UC Berkeley in the early 1990s, there were no film production facilities. The only way I learned to tell stories on film was by re-cutting and splicing together celluloid of old movies, early animated films, home films, sound slug - anything I could get my hands on.
When you live in Paris, and fashion is such a point of pride for the French, it's always around and you're very much exposed to it from an early age. It was always something I knew about and really liked.
The reason I took Early Edition - besides the fact that I liked it - was that it enabled me to start a production company in New York City. It's a low-budget film company to produce and direct movies.
At an early age, I knew there were a lot of things I couldn't do. My father was a doctor, and my mother was a teacher. I knew I wasn't good in numbers, and I knew I wouldn't work well in overly structured environments.
My parents were involved in the record industry, so I was exposed to the arts very early.
When I work on films, I like to be involved from as early as possible. I think this is really good and beneficial in terms of absorbing the atmosphere of the film and for the music to become a part of the DNA of the film.
I was writing from a very, very early age. My father used to write. He died early, and my mother was a schoolteacher, so my academic background from childhood is a strong one, a good one.
My mother taught me how to read very early on and at school I was ahead of everyone in class... Reading was always something that I liked because I could do it alone and I was alone a lot of the time with my mother working the hours she did. Books became my friends very early on.
Suzanna Collins was very supportive, but we very much wanted her blessing on casting. In production, she visited us once, but she really was not involved in the production process. She's seen the Hunger Games movie twice, in the post-production process, once as an early cut and then once when it was finished.
And at a relatively early age, ten or so, I invested my first share of stock. And I used to follow, look at companies and so forth. But throughout the whole period, and indeed right through my college years, while I was involved in the stock market, always interested in finance, I never thought of it as a full-time job.
When I was born, my mother was very disappointed. She wanted a son. I knew that from a very early age. So I was a tomboy.
I used to like watching Helen Mirren's early films, because she was always naked. It's titillating.
Gleaning is getting things that are abandoned. I did not abandon my early pictures, my photos, my early films. It's just going through my body of work as something I can pick from.
I knew from an early age that people didn't see the different sides of me. I formulated a kind of bi-cultural identity quite early, and I was always very comfortable with it, but I knew people didn't quite see that.
Passyunk Productions is our film & tv production company. The name comes from a street in Philly, Passyunk Avenue, where the concept of The Roots was born, as Ahmir and I started out busking on the corner of 5th & Passyunk back in the early '90s.
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